https://exchange.prx.org/p/556994
This week's show gets off to an unusual start, with back-to-back artists sets from the Who and Paul Revere And The Raiders. Later in the show we have a Battle of the Bands rematch between the Beatles and Love, along with a couple of interesting cover tunes to finish out. There's lots of good stuff in between as well.
Artist: Who
Title: Armenia City In The Sky
Source: LP: The Who Sell Out
Writer(s): John Keene
Label: Decca
Year: 1967
Pete Townshend has always been a prolific songwriter. John Entwistle, while not as prolific as Townshend, wrote more than his share of quality tunes as well. It is a bit surprising, then, that the opening track of The Who Sell Out did not come from the pens of either of the band's songwriters. Instead, Armenia City In The Sky was written by one of the band's roadies, John "Speedy" Keene. Although not a household name, Keene was the lead vocalist for Thunderclap Newman (named for the band's recording engineer), who had a huge hit in 1969 with Keene's Something In The Air, which was produced by Townshend.
Artist: Who
Title: Run Run Run
Source: Canadian import CD: Magic Bus-The Who On Tour (originally released on LP: A Quick One, re-titled Happy Jack in US)
Writer(s): Pete Townshend
Label: MCA (original label: Decca)
Year: 1966
After the release of their first LP, My Generation, the Who terminated their contract with the British Brunswick label and signed with a new company, Reaction. The first Reaction release was a single, Substitute, which made the British top 5. In late 1966 the band released their first album for Reaction, A Quick One. The album was markedly different from My Generation, as the group had moved beyond their so-called maximum R&B phase and were exploring new directions. A Quick One was also the first Who album to be mixed in stereo, as can be heard on the opening track of the LP, Run Run Run. Although not released as a single, the song proved popular enough to include on the 1968 LP Magic Bus, along with several of their singles and B sides (and a couple more album tracks).
Artist: Who
Title: I Can See For Miles
Source: LP: The Who Sell Out
Writer: Pete Townshend
Label: Decca
Year: 1967
I Can See For Miles continued a string of top 10 singles in the UK and was the Who's biggest US hit ever. Pete Townshend, however, was disappointed with the song's performance on the UK charts. He said that the song was the ultimate Who song and as such it should have charted even higher than it did. It certainly was one of the heaviest songs of its time and there is some evidence that it prompted Paul McCartney to come up with Helter Skelter in an effort to take the heaviest song ever title back for the Beatles. What makes the story even more bizarre is that at the time McCartney reportedly had never actually heard I Can See For Miles and was going purely by what he read in a record review. I Can See For Miles was also used as the closing track of side one of The Who Sell Out, released in December of 1967. Some of the commercials and jingles heard at the beginning of the track were recorded by the band itself. Others were lifted (without permission) from Wonderful Radio London, a pirate radio station that had been operating off the English coast before being shut down by the passage of the Marine Broadcasting Offences Act a few months before The Who Sell Out was released.
Artist: Paul Revere and the Raiders
Title: The Great Airplane Strike
Source: Mono LP: Spirit of '67
Writer: Revere/Melcher/Lindsay
Label: Columbia
Year: 1966
Often dismissed for their Revolutionary War costumes and frequent TV appearances, Paul Revere and the Raiders were actually one of the first great rock bands to emerge from the Pacific Northwest. Their accomplishments include recording Louie Louie (arguably before the Kingsmen did) and being the first rock band signed to industry giant Columbia Records. The Great Airplane Strike is a good example of just how good a band they really were.
Artist: Paul Revere And The Raiders
Title: Louie, Go Home
Source: Mono LP: Greatest Hits (originally released on LP: Midnight Ride)
Writer(s): Lindsay/Revere
Label: Columbia
Year: 1966
Nobody knows for sure who recorded Louie Louie first: the Kingsmen or Paul Revere And The Raiders. Both bands recorded the song in April of 1963 in the same studio in Portland, Oregon, but nobody seems to remember which band played at which session. Regardless, the Kingsmen ended up with the national hit version of the song, while Paul Revere And The Raiders went on to become one of the most successful American rock bands of the mid-1960s, thanks in part to Dick Clark, who discovered them playing in Hawaii and chose them to be the house band on his new show Where The Action Is. By this time the band had been signed to Columbia Records, releasing their first single for the label, Louie-Go Home, in 1964. By 1966 they were riding high on the charts, and re-recorded Louie, Go Home (different punctuation, same song, different arrangement) in stereo for their second of three albums released that year: Midnight Ride.
Artist: Paul Revere And The Raiders
Title: Our Candidate
Source: Mono LP: The Spirit Of '67
Writer(s): Mike Smith
Label: Columbia
Year: 1966
Paul Revere And The Raiders continued their winning ways with the release of their second LP of 1966. The Spirit Of '67, like its predecessor Midnight Ride, featured a mix of cover songs and originals, including My Candidate from drummer Mike "Smitty" Smith. The Spirit Of '67 was, in a sense, an ending for the group, however. Future albums would use studio musicians extensively, and virtually all the material would come from the pens of Paul Revere and Mark Lindsay, leading to most of the other members (including Smitty) leaving the band altogether.
Artist: Bobby Fuller Four
Title: I Fought The Law
Source: CD: I Fought The Law-The Best Of The Bobby Fuller Four (originally released as 45 RPM single)
Writer(s): Sonny Curtis
Label: Rhino (original label: Mustang)
Year: 1965
I Fought The Law is one of the truly iconic songs in rock history. Originally recorded by the Crickets in 1959 after Sonny Curtis, who wrote the song, had joined the band as lead guitarist and taken over lead vocals following the death of Buddy Holly, the song became a national hit when it was covered by the Bobby Fuller Four in late 1965. The song hit the #9 spot on the Billboard Hot 100 in early 1966, and has since been recorded by numerous artists from a variety of genres, including the Clash, Hank Williams, Jr., the Dead Kennedys and Bruce Springsteen, who has made it a staple of his live show over the years.
Artist: Los Shakers
Title: Break It All (US version)
Source: CD: Nuggets II-Original Artyfacts From The British Empire And Beyond 1964-1969 (originally released as 45 RPM single B side)
Writer(s): Hugo & Osvaldo Fatturosa
Label: Rhino (original label: Audio Fidelity)
Year: 1966
We're all familiar with the British Invasion of the American music industry that began with the arrival of the Beatles on US shores (well, technically an airport runway) in early 1964. Less known was a Uraguayan Invasion of Argentina about a year later. Inspired by the film A Hard Days Night, brothers Hugo and Osvaldo Fatturoso formed Los Shakers in the Uraguayan city of Montevideo in 1964. They soon signed with the Argentina-based Odeon label (Buenos Aires being less than 100 miles from Montevideo) and by 1965 had touched off an entire wave of Uraguayan bands recording songs in English for Argentinian labels and appearing on Argentinian TV shows. They even recorded a new version of their biggest hit, Break It All, for the Audio Fidelity label that was released in the US and Mexico in 1966. By 1967, however, bands in Argentina were favoring songs sung in Spanish, and the Uraguayan Invasion subsided, finally dying off entirely when a military dictatorship was established in Uraguay itself in 1973.
Artist: Balloon Farm
Title: A Question Of Temperature
Source: Mono LP: Nuggets Vol. 1-The Hits (originally released as 45 RPM single)
Writer(s): Appel/Schnug/Henny
Label: Rhino (original label: Laurie)
Year: 1967
It's not entirely clear whether the Balloon Farm was an actual band or simply an East Coast studio concoction. Regardless, they did manage to successfully cross garage rock with bubble gum for A Question Of Temperature, originally released on the Laurie label in 1967. Band member Mike Appel went on to have greater notoriety as Bruce Springsteen's first manager.
Artist: Cream
Title: White Room
Source: CD: Wheels Of Fire
Writer(s): Bruce/Brown
Label: Polydor (original label: Atco)
Year: 1968
Musically almost a rewriting of Eric Clapton's Tales of Brave Ulysses (from Cream's Disraeli Gears album), White Room, a Jack Bruce/Pete Brown composition from the Wheels Of Fire album, is arguably the most popular song ever to feature the use of a wah-wah pedal prominently.
Artist: Fingers
Title: Circus With A Female Clown
Source: Mono British import CD: Psychedelia At Abbey Road (originally released in UK as 45 RPM single B side)
Writer(s): Robin/Mills/Ducky
Label: EMI (original label: Columbia)
Year: 1967
One of the first British bands to label themselves as "psychedelic", the Fingers included as part of their stage show a monkey named Freak Out, whom the band members claimed produced "psychotic" odors (having met someone with a pet monkey, I find that easy to believe). The band only released two singles, however. The second of these had the truly strange Circus With A Female Clown on its B side. The somewhat more conventional A side failed to chart, however, and the group broke up soon after the record was released.
Artist: Donovan
Title: Mellow Yellow
Source: Mono CD: Donovan's Greatest Hits (originally released as 45 RPM single)
Writer: Donovan Leitch
Label: Epic/Legacy
Year: 1966
Although the Mellow Yellow album came out in early 1967, the title track had been released several months earlier as a followup to Donovan's breakthrough US hit Sunshine Superman. Ironically, during Donovan's period of greatest US success none of his recordings were being released in his native UK, due to a contract dispute with Pye Records. Incidentally, electric banana didn't turn out to be a sudden craze after all, and it is not Paul McCartney whispering "quite rightly" on the chorus. Sorry to burst anyone's bubble.
Artist: P.F. Sloan
Title: Halloween Mary
Source: Mono CD: Where The Action Is: L.A. Nuggets 1965-68 (originally released as 45 RPM single)
Writer: P.F. Sloan
Label: Rhino (original label: Dunhill)
Year: 1965
If there is any one songwriter associated specifically with folk-rock (as opposed to folk music), it would be the Los Angeles based P.F. Sloan, writer of Barry McGuire's signature song, Eve Of Destruction. Sloan also penned hits for the Turtles in their early days as one of the harder-edged folk-rock bands, including their second hit, Let Me Be. In fact, Sloan had almost 400 songs to his credit by the time he and Steve Barri teamed up to write and produce a series of major hits released by various bands under the name Grass Roots. Sloan himself, however, only released two singles as a singer, although (as can be heard on the second of them, the slightly off-kilter Halloween Mary) he had a voice as powerful as many of the recording stars of the time.
Artist: Animals
Title: Gonna Send You Back To Walker
Source: Mono CD: Retrospective (originally released as 45 RPM single)
Writer: Matthews/Hammond
Label: Abkco (original label: M-G-M)
Year: 1964
The members of the Animals, particularly vocalist Eric Burdon, made their opinion of their home town known with the song Gonna Send You Back To Walker, released as the B side of their first single in 1964. Originally released twice by American rhythm and blues singer Timmy Shaw, first as a B side called City Slick, then as an A side called Gonna Send You Back to Georgia, the Animals reworked the lyrics to fit English localities. Walker itself was Burdon's home town, a distict of Newcastle upon Tyne that once was a major shipyard, but had long since fallen into hard times by the mid-20th century. The "south" referred to in the song is the "big city" of London.
Artist: "E" Types
Title: Put The Clock Back On The Wall
Source: CD: Even More Nuggets (originally released as 45 RPM single)
Writer(s): Bonner/Gordon
Label: Rhino (original label: Tower)
Year: 1967
The E-Types were originally from Salinas, California, which at the time was known for it's sulfiric smell experienced by passing motorists travelling along US 101. As many people from Salinas apparently went to "nearby" San Jose (about 60 miles to the north) as often as possible, the E-Types became regulars on the local scene there, eventually landing a contract with Tower Records and Ed Cobb, who also produced the Standells and the Chocolate Watchband. The Bonner/Gordon songwriting team were just a couple months away from getting huge royalty checks from the Turtles' Happy Together when Put The Clock Back On The Wall was released in early 1967. The song takes its title from a popular phrase of the time. After a day or two of losing all awareness of time (and sometimes space) it was time to put the clock back on the wall, or get back to reality if you prefer.
Artist: Turtles
Title: The Walking Song
Source: 45 RPM single B side
Writer(s): Kaylan/Nichols
Label: White Whale
Year: 1967
When they weren't recording hit songs by professional songwriters, the Turtles were busy developing their own songwriting talents, albeit in a somewhat satirical direction. One early example is The Walking Song, which contrasts the older generation's obsession with material goods with a "stop and smell the roses" approach favored by the song's protagonist. This toungue-in-cheek style of writing would characterize the later careers of two of the band members, Mark Volman and Howard Kaylan, who, after performing with the Mothers at the Fillmore would become known as the Phlorescent Leech (later Flo) and Eddie.
Artist: Traffic
Title: Smiling Phases
Source: CD: Heaven Is In Your Mind
Writer(s): Winwood/Capaldi/Wood
Label: Island (original label: United Artists)
Year: 1967
The standard practice in the UK during the 60s was to not include songs that had been released as singles on LPs. This left several songs, such as the 1967 B side Smiling Phases, only available on 45 RPM vinyl until the group's first greatest hits anthology was released. In the US the song was more widely circulated, having been included on the American version of Traffic's debut LP (originally issued as Heaven Is In Your Mind but soon retitled Mr. Fantasy). Smiling Phases has since come to be recognized as one of Traffic's most iconic tunes, and has been covered by such bands as Blood, Sweat and Tears.
Artist: Buffalo Springfield
Title: Mr. Soul
Source: LP: Retrospective-The Best Of Buffalo Springfield (originally released on LP: Buffalo Springfield Again)
Writer(s): Neil Young
Label: Atco
Year: 1967
Executives at Atco Records originally considered Neil Young's voice "too weird" to be recorded. As a result many of Young's early tunes (including the band's debut single Nowadays Clancy Can't Even Sing), were sung by Richie Furay. By the time the band's second album, Buffalo Springfield Again, was released, the band had enough clout to make sure Young was allowed to sing his own songs. In fact, the album starts with a Young vocal on the classic Mr. Soul.
Artist: Rolling Stones
Title: Parachute Woman
Source: CD: Beggar's Banquet
Writer: Jagger/Richards
Label: Abkco (original label: London)
Year: 1968
The last Rolling Stones album with the band's original lineup was Beggar's Banquet, released in 1968. The album itself was a conscious effort on the part of the band to get back to their roots after the psychedelic excesses of Their Satanic Majesties Request. Sadly, Brian Jones was fast deteriorating at the time and his contributions to the album are minimal compared to the band's earlier efforts. As a result, Keith Richards was responsible for most of the guitar work on Beggar's Banquet, including both lead and rhythm parts on Parachute Woman.
Artist: Love
Title: My Little Red Book
Source: LP: Nuggets Vol. 2-Punk (originally released on LP: Love)
Writer(s): Bacharach/David
Label: Rhino (original label: Elektra)
Year: 1966
The first rock record ever released by Elektra Records was a single by Love called My Little Red Book. The track itself (which also opens Love's debut LP), is a punked out version of a tune originally recorded by Manfred Mann for the What's New Pussycat movie soundtrack. Needless to say, Love's version was not exactly what composers Burt Bacharach and Hal David had in mind when they wrote the song.
Artist: Beatles
Title: Being For The Benefit Of Mr. Kite
Source: LP: Sgt. Pepper's Lonely Hearts Club Band
Writer(s): Lennon/McCartney
Label: EMI/Parlophone
Year: 1967
According to principal songwriter John Lennon, Being For The Benefit Of Mr. Kite was inspired by a turn of the century circus poster that the Beatles ran across while working on the Sgt. Pepper's Lonely Hearts Club Band album. Most of the lyrics refer to items on the poster itself, such as Henry the Horse and the Hendersons.
Artist: Love
Title: Can't Explain
Source: Mono CD: Love Story (originally released on LP: Love)
Writer(s): Lee/Echols/Fleckenstein
Label: Elektra/Rhino
Year: 1966
Love's original lineup consisted of bandleader Arthur Lee on vocals, Johnny Echols on lead guitar, John Fleckenstein on bass and Don Conka on drums, with Lee, a prolific songwriter, providing the band's original material. They were soon joined by singer/songwriter/guitarist Bryan MacLean, who gave up his traveling gig as a roadie for the Byrds. Before they completed their first album, however, Fleckenstein and Conka had been replaced by Ken Forssi and Snoopy Pfisterer, although Lee himself provided most of the drums and some of the bass tracks on the LP. Two of the tracks on the album, however, are rumored to have been performed by the original five members, although this has never been verified. One of those tracks is Can't Explain, on which Fleckenstein has a writing credit. The song is certainly one of the band's earliest recordings and captures Love's hard-edged "L.A.-in" take on folk-rock.
Artist: Beatles
Title: Baby, You're A Rich Man
Source: CD: Magical Mystery Tour
Writer(s): Lennon/McCartney
Label: Apple/Parlophone
Year: 1967
Baby, You're A Rich Man was one of the last collaborations between John Lennon and Paul McCartney and addresses the Beatles' longtime manager Brian Epstein, although not by name. Lennon came up with the basic question "how does it feel to be one of the beautiful people?" (a popular term for the young and hip in late 60s London), which became the basis for the song's verses, which were combined with an existing, but unfinished, Paul McCartney chorus (Baby, You're A Rich Man, too). The finished piece was issued as the B side of the Beatles' second single of 1967, All You Need Is Love, and later remixed in stereo and included on the US-only LP version of Magical Mystery Tour.
Artist: Love
Title: A House Is Not A Motel
Source: CD: Love Story (originally released on LP: Forever Changes)
Writer: Arthur Lee
Label: Elektra/Rhino
Year: 1967
Arthur Lee was a bit of a recluse, despite leading the most popular band on Sunset Strip in 1966-67. When the band was not playing at the Whiskey-A-Go-Go Lee was most likely to be found at his home up in the Hollywood Hills, often in the company of fellow band member Bryan McLean. The other members of the band, however, were known to hang out in the most popular clubs, chasing women and doing all kinds of substances. Sometimes they would show up at Lee's house unbidden. Sometimes they would crash there. Sometimes Lee would get annoyed, and probably used the phrase which became the title of the second track on Love's classic Forever Changes album, A House Is Not A Motel.
Artist: Beatles
Title: Good Morning Good Morning/Sgt. Pepper's Lonely Hearts Club Band (Reprise)/A Day In The Life
Source: CD: Sgt. Pepper's Lonely Hearts Club Band
Writer: Lennon/McCartney
Label: Parlophone (original US label: Capitol)
Year: 1967
One of the great accidents of record production was the splice that turned the chicken at the end of Good Morning Good Morning into a guitar, starting off Sgt. Pepper's Lonely Hearts Club Band (Reprise) and ultimately leading into A Day In The Life, with it's slowly dissolving orchestral chord that brings the number one album of 1967 to a close.
Artist: Simon and Garfunkel
Title: Fakin' It
Source: 45 RPM single
Writer: Paul Simon
Label: Columbia
Year: 1967
Fakin' It, originally released as a single in 1967, was a bit of a departure for Simon And Garfunkel, sounding more like British psychedelic music than American folk-rock. The track starts with an intro that is similar to the false ending to the Beatles Strawberry Fields Forever; midway through the record the tempo changes drastically for a short spoken word section (name-dropping Mr. [Donovan] Leitch) that is slightly reminiscent of the bridge in Traffic's Hole In My Shoe. The song was later included on the 1968 LP Bookends.
Artist: Jimi Hendrix Experience
Title: Highway Chile
Source: Simulated stereo British import LP: Smash Hits (originally released as 45 RPM single B side)
Writer(s): Jimi Hendrix
Label: Polydor (original label: Track)
Year: 1967
The Jimi Hendrix Experience already had three hit singles in the UK before releasing their first LP, Are You Experienced, in May of 1967. The following month the band made its US debut at the Monterey International Pop Festival. The gig went over so well that Reprise Records soon made arrangements to release Are You Experienced in the US. To maximize the commercial potential of the LP, Reprise decided to include the A sides of all three singles on the album, even though those songs had not been on the British version. The B sides of all three singles, however, were not included on the album. Among those missing tracks was Highway Chile, a somewhat autobiographical song that was originally paired with The Wind Cries Mary. In April of 1968, prior to the release of the Electric Ladyland album, Polydor released an album called Smash Hits that collected all eight songs that had been released in single form up to that point, as well as a handful of tunes from the original UK version of Are You Experienced. Highway Chile was not included on the US version of Smash Hits, which was released the following year; in fact, Highway Chile was not released in the US at all during Hendrix's lifetime, finally appearing (in fake stereo) on the 1972 LP War Heroes.
Artist: Show Stoppers
Title: If You Want To, Why Don't You
Source: 45 RPM single
Writer(s): W.E. Hjerpe
Label: Columbia
Year: 1967
The Show Stoppers were a Rochester, NY based club band that included Don Potter and Bat McGrath, who would go on to release an album together on the Epic label in 1969. The Show Stoppers were discovered by John Hammond in 1967 and signed to the Columbia label, where they released two singles. Although three of the tracks would best be described as danceable pop music, the A side of their second single, If You Want To, Why Don't You, had more of a garage-rock sound, and has appeared on at least one garage-rock compilation. Both Potter and McGrath now reside in Nashville, where Potter became well-known as the creator of the "Judds sound" in the 1980s. Special thanks to Tom at the Bop Shop in Rochester (a record store that specializes in vinyl) for making this record available to me.
Artist: Mothers of Invention
Title: Big Leg Emma
Source: CD: Absolutely Free (originally released as 45 RPM single B side)
Writer: Frank Zappa
Label: Ryko (original label: Verve)
Year: 1967
Sometime during the creation of the second Mothers Of Invention album, Absolutely Free, the band recorded a pair of stand alone tunes that were released as a 45 RPM single. The B side of that record was Big Leg Emma, a song that was written by Frank Zappa in 1962 and would eventually be added to his live show in the late 1970s.
Artist: Bob Dylan
Title: Gates Of Eden
Source: 45 RPM single B side (originally released on LP: Bringing It All Back Home)
Writer(s): Bob Dylan
Label: Columbia
Year: 1965
Big record companies like to hedge their bets. In fact, they can hardly resist it. When Bob Dylan decided to release the six-minute long Like A Rolling Stone as a single, Columbia Records balked at the idea and cancelled the release. An acetate of the song, however, found its way into the hands of a New York club DJ, who literally played it to death (acetates having a very limited lifespan) in a single night due to multiple requests by club patrons to "play it again". Word got out quickly and the shirts decided to take a chance and release the song after all. But there was still the issue of Dylan's early fans considering him a traitor to folk music for using electric guitars, organ, piano and drums on the song, so they lifted the purely acoustic Gates Of Eden from Dylan's previous album, Bringing It All Back Home, for the B side. Ironically, Gates Of Eden is only about 20 seconds shorter than Like A Rolling Stone itself, making the total playing time of the two sides nearly twelve minutes, something not often seen in the US since the 1950s, when Extended Play 45s were still considered a viable format.
Artist: Beach Boys
Title: Caroline No
Source: Mono LP: Pet Sounds
Writer(s): Wilson/Asher
Label: Capitol/EMI
Year: 1966
According to lyricist Peter Asher, Caroline No was written because Brian Wilson was "saddened to see how sweet little girls turned out to be kind of bitchy, hardened adults". Though the song was originally included on the Beach Boys' Pet Sounds album, it ended up being the only single ever released by Capitol credited to Brian Wilson as a solo artist.
Artist: Electric Prunes
Title: Big City
Source: CD: Underground
Writer: J. Walsh/D. Walsh
Label: Collector's Choice/Rhino (original label: Reprise)
Year: 1967
The Electric Prunes were given more creative freedom on their second LP, Underground, than any of their other albums. Nonetheless, Underground did contain a few cover songs, one of which was the song Big City, which emphasizes the vocals more than most Prunes tunes.
Artist: Blue Cheer
Title: Summertime Blues
Source: CD: The Best Of 60s Psychedelic Rock (originally released on LP: Vincebus Eruptum)
Writer(s): Cochrane/Capehart
Label: Priority (original label: Philips)
Year: 1968
European electronics giant Philips had its own record label in the 1960s. In the US, the label was distributed by Mercury Records, and was known primarily for a long string of hits by Frankie Valli and the Four Seasons. In 1968 the label surprised everyone by signing the loudest band in San Francisco, Blue Cheer. Their cover of the 50s Eddie Cochrane hit Summertime Blues was all over both the AM and FM airwaves that summer.
Artist: Kindred Spirit
Title: Blue Avenue
Source: Mono CD: An Overdose Of Heavy Psych (originally released as 45 RPM single B side_
Writer(s): Wayne Ulaky
Label: Arf! Arf! (original labels: Moxie and Intrepid)
Year: 1969
Known primarily as a flood-prone steel processing center for most of its existence, Johnstown, PA, like many industrial cities, had its own music scene, and for a short time its own local record label in the 1960s. Moxie Records only released two singles, the first being a 1969 cover of the Rolling Stones' Under My Thumb by Kindred Spirit, a popular local band consisting of lead vocalist Greg Falvo, guitarists Joe Nemanich and John Galiote, keyboard and keyboard bassist Jim Smedo, drummer Tom "Boots" McCullough and vocalist Carl Mundok. Although most bands got to put an original tune on the B side of singles (so they could collect royalties on record sales), Kindred Spirit instead recorded another cover song, the Beacon Street Union's Blue Avenue for their own single's flipside. As it turned out, Kindred Spirit ended up outlasting Moxie Records after the single was picked up by Mercury Records and released on their new Intrepid subsidiary label in November of 1969. The following year a second Kindred Spirit single, Peaceful Man, was released on Intrepid. As far as I can tell, Peaceful Man was an original tune (lead vocalist Falvo is listed as co-writer), although the B side of that record was a cover of an album track from the first Flock LP.
