https://exchange.prx.org/p/585543
This week I came up with a battle of the band's scenario that was too strange even for me, so instead we have two separate artists' sets in the same half hour. Of course there's more to this week's show than just that. Much more, starting with a classic Stones track.
Artist: Rolling Stones
Title: Get Off My Cloud
Source: Mono CD: Big Hits (High Tide And Green Grass) (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 successfully cranking out love songs throughout 1965, the Stones were shouting their defiance at the world with songs like Get Off My Cloud.
Artist: Human Beingz
Title: My Generation
Source: Mono LP: Pebbles Vol. 8 (originally released as 45 RPM single)
Writer(s): Pete Townshend
Label: BFD (original label: Elysian)
Year: 1966
Regular listeners of Stuck in the Psychedelic Era are probably familiar with a song called Nobody But Me by the Human Beinz (it holds the record for the most iterations of the word no on a top 40 hit song). What most people aren't aware of, however, is the fact that the band had actually been spelling its name Human Beingz for over a year before signing with Capitol Records, who accidently left the 'g' out on the label of Nobody But Me in 1968. One of the earliest regional hits for the Youngstown, Ohio based Human Beingz was this cover of the Who's I Can't Explain, released on the local Elysian label in 1966.
Artist: Jefferson Airplane
Title: Somebody To Love
Source: 45 RPM single (reissue)
Writer(s): Darby Slick
Label: RCA
Year: 1967
The monster hit that put the San Francisco Bay area on the musical map in early 1967, Somebody To Love was actually the second single released from the Jefferson Airplane's second LP, Surrealistic Pillow; the first being the Skip Spence tune My Best Friend.
Artist: Gods
Title: Toward The Skies
Source: British import CD: Insane Times (originally released in UK on LP: Genesis)
Writer(s): Joe Konas
Label: Zonophone (original label: Columbia)
Year: 1968
It was probably pretty pretentious for a band to call themselves the Gods, but when you consider that, at various times, the band's lineup included Greg Lake and Mick Taylor (both future rock gods), as well as two future members of Uriah Heep, the claim somehow doesn't seem quite so outrageous. By the time their first album, Genesis, came out in 1968 both Taylor and Lake had moved on, but between guitarist/keyboardist Ken Hensley, drummer Lee Kerslake (the two aforementioned Heepsters), bassist John Glascock (who would eventually serve as Jethro Tull's bassist until his untimely death in 1979) and guitarist Joe Konas, who wrote the album's opening track, Toward The Skies, the Gods had talent to spare.
Artist: Family
Title: Second Generation Woman
Source: LP: The 1969 Warner/Reprise Songbook (originally released on LP: Family Entertainment)
Writer(s): Rick Grech
Label: Warner Brothers (original label: Reprise)
Year: 1968
Family's original lineup of Roger Chapman, Rick Grech, Jim King, Rob Townsend and John Whitney was still intact for the recording of the band's second LP, Family Entertainment, although Grech soon left to join Blind Faith. Their debut LP had been well-received, but they had already dropped much of their early material from their live sets in favor of newer composition even before Family Entertainment was released. As a result, many of the songs on the new album, including Grech's Second Generation Woman, were already familiar to the band's fans by the time the LP was made available to the public. Grech's departure, though, was only the first in a series of personnel changes throughout Family's existence, and by 1973, when the group officially disbanded, only Chapman, Townsend and Whitney remained from the lineup that had recorded the first two LPs.
Artist: It's A Beautiful Day
Title: White Bird
Source: CD: Love Is The Song We Sing: San Francisco Nuggets 1965-70 (originally released on LP: It's A Beautiful Day)
Writer(s): David & Linda LaFlamme
Label: Rhino (original label: Columbia)
Year: 1969
San Francisco's It's A Beautiful Day is a good illustration of how a band can be a part of a trend without intending to be or even realizing that they are. In their case, they were actually tied to two different trends. The first one was a positive thing: it was now possible for a band to be considered successful without a top 40 hit, as long as their album sales were healthy. The second trend was not such a good thing; as was true for way too many bands, It's A Beautiful Day was sorely mistreated by its own management, in this case one Matthew Katz. Katz already represented both Jefferson Airplane and Moby Grape when he signed up It's A Beautiful Day in 1967. What the members of It's A Beautiful Day did not know at the time was that both of the aforementioned bands were desperately trying to get out of their contracts with Katz. The first thing Katz did after signing It's A Beautiful Day was to ship the band off to Seattle to become house band at a club Katz owned called the San Francisco Sound. Unfortunately for the band, Seattle already had a sound of its own and attendance at their gigs was sparse. Feeling downtrodden and caged (and having no means of transportation to boot) classically-trained 5-string violinist and lead vocalist David LaFlamme and his keyboardist wife Linda LaFlamme translated those feelings into a song that is at once sad and beautiful: the classic White Bird. As an aside, Linda LaFlamme was not the female vocalist heard on White Bird. Credit for those goes to one Pattie Santos, the other female band member. To this day Katz owns the rights to It's A Beautiful Day's recordings, which have been reissued on CD on Katz's San Francisco Sound label.
Artist: Gong
Title: Radio Gnome/You Can't Kill Me
Source: European import CD: Camembert Electrique (originally released on LP in France)
Writer(s): Daevid Allen
Label: Charly/Snapper (original label: BYG Actuel)
Year: 1971
It's almost impossible to describe Gong. They had their roots in British psychedelia, founder Daevid Allen having been a member of Soft Machine, but are also known as pioneers of space-rock. The Radio Gnome Invisible trilogy, from 1973-74, is considered a landmark of the genre, telling the story of such characters as Zero the Hero and the Pot Head Pixies from Planet Gong. The groundwork for the trilogy was actually laid in 1971, when the album Camembert Electrique was recorded (and released) in France on the BYG Actuel label. The album opens with Radio Gnome, a pastiche of electronic effects that leads into the album's first proper song, You Can't Kill Me.
Artist: Electric Prunes
Title: Are You Lovin' Me More (But Enjoying It Less)
Source: CD: I Had Too Much To Dream (Last Night) (original album title: The Electric Prunes)
Writer(s): Tucker/Mantz
Label: Collector's Choice/Rhino (original label: Reprise)
Year: 1967
For a follow-up to the hit single I Had Too Much To Dream (Last Night), producer Dave Hassinger chose another Annette Tucker song (co-written by Jill Jones) called Get Me To The World On Time. This was probably the best choice from the album tracks available, but Hassinger may have made a mistake by choosing Are You Lovin' Me More (But Enjoying It Less) as the B side. That song, written by the same Tucker/Mantz team that wrote I Had Too Much To Dream (Last Night) could quite possibly been a hit single in its own right if it had been issued as an A side. I guess we'll never know for sure.
Artist: Simon And Garfunkel
Title: At The Zoo
Source: LP: Bookends (originally released as 45 RPM single)
Writer(s): Paul Simon
Label: Sundazed/Columbia
Year: 1967
Simon and Garfunkel did not release any new albums in 1967, instead concentrating on their live performances. They did, however, issue several singles over the course of the year, most of which ended up being included on 1968's Bookends LP. At The Zoo was one of the first of those 1967 singles. It's B side ended up being a hit as well, but by Harper's Bizarre, which took The 59th Street Bridge Song (Feelin' Groovy) to the top 10 early in the year.
Artist: Young Rascals
Title: It's Love
Source: CD: Groovin'
Writer(s): Cavaliere/Brigati
Label: Warner Special Products (original label: Atlantic)
Year: 1967
The Young Rascals, still riding high as the kings of "blue-eyed soul", gave us the first hint of their future, more jazz-influenced sound on the last track of the 1967 album Groovin'. It's Love, which was also released as the B side of A Girl Like You, features jazz flautist Hubert Laws, who would contribute to nearly every new Rascals album over the next five years.
Artist: Love
Title: Can't Explain
Source: German import CD: Love
Writer(s): Lee/Echols/Fleckenstein
Label: Elektra
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: West Coast Pop Art Experimental Band
Title: I Won't Hurt You
Source: LP: Nuggets Vol. 9-Acid Rock (originally released on LP: Part One)
Writer: Harris/Lloyd/Markley
Label: Rhino (original label: Reprise)
Year: 1967
Unlike more famous L.A. groups like Love and the Doors, the West Coast Pop Art Experimental Band was not a Sunset Strip club band. In fact, the WCPAEB really didn't play that many live performances in their career, although those they did tended to be at high profile venues such as the Hollywood Bowl. The band was formed when the Harris brothers, sons of an accomplished classical musician, decided to record their own album and release it on the small Fifa label. Only a few copies of that album, Volume One, were made and finding one now is next to impossible. That might have been the end of the story except for the fact that they were acquaintances of Kim Fowley, the Zelig-like record producer and all-around Hollywood (and sometimes London) hustler. Fowley invited them to a party where the Yardbirds were playing; a party also attended by one Bob Markley. Markley, who was nearly ten years older than the Harris brothers, was a former TV show host from the midwest who had moved out to the coast to try his luck in Hollywood. Impressed by the flock of young girls surrounding the Yardbirds, Markley expressed to Fowley his desire to be a rock and roll star and have the young girls flock around him, too. Fowley, ever the deal-maker, responded by introducing Markley to the Harris Brothers and the West Coast Pop Art Experimental Band was born. With the addition of guitarist Michael Lloyd and the influence of Markley's not-inconsiderable family money, the group soon landed a contract with Reprise Records, where they proceeded to record the album Part One, which includes the tune I Won't Hurt You, which uses a simulated heartbeat to keep the...umm, beat.
Artist: Steve Miller Band
Title: Living In The U.S.A.
Source: LP: Anthology (originally released on LP: Sailor)
Writer(s): Steve Miller
Label: Capitol
Year: 1968
Although generally considered a San Francisco act, the Steve Miller Band, in truth, was never really confined to a single geographical area. Miller himself was originally from Chicago, and had cut his musical teeth in Texas. The first Steve Miller Band album was recorded in London, while their second effort, Sailor, was made in Los Angeles. Appropriately enough, the best-known track from Sailor, and the first Steve Miller Band song to get significant national radio exposure, was Living In The U.S.A., a song that is still heard fairly often on classic rock radio stations.
Artist: Kaleidoscope (US)
Title: Lie To Me
Source: British import CD: Pulsating Dreams (originally released in US on LP: Incredible!)
Writer(s): David Lindley
Label: Floating World (original US label: Epic)
Year: 1970
The American band known as Kaleidoscope was not really a rock band. If you had to define them, you might go with terms like "roots" or even "world" music, but not rock. While still in high school, Kaleidoscope's multi-instrumentalist founder David Lindley formed his first band, the Mad Mountain Ramblers in Pasadena, California, where he met Chris Darrow, Kaleidoscope's co-founder. At age 20 (more or less) the two, who had been in rival bands, formed a new group the Dry City Scat Band, but Darrow soon left to form his own rock band. The two, along with multi-instrumentalists Solomon Feldthouse and Chester Crill (aka all sorts of odd names such as Fenrus Epp and Max Budda) along with drummer John Vidican formed Kaleidoscope in 1966. By the time they had released their third, and highest charting album Incredible!, both Darrow and Vidican had left the band, with Stuart Brotman now playing bass and Paul Lagos handling the drums. Darrow had been the band's primary songwriter on the first two Kaleidoscope albums, resulting in more group compositions on the third LP, including Lie To Me, the album's opening track.
Artist: Country Joe And The Fish
Title: Bass Strings
Source: Mono British import CD: The Berkeley EPs (originally released on EP)
Writer(s): Joe McDonald
Label: Big Beat (original label: Rag Baby)
Year: 1966
One of the more original ways to get one's music heard is to publish an underground arts-oriented newspaper and include a record in it. Country Joe and the Fish did just that; not once, but twice. The first one was split with another artist and featured the original recording of the I-Feel-Like-I'm-Fixin'-To-Die Rag. The second Rag Baby EP, released in 1966, was all Fish, and featured two tracks that would be re-recorded for their debut LP the following year. In addition to the instrumental Section 43, the EP included a four-minute version of Bass Strings, a track with decidedly psychedelic lyrics.
Artist: Beatles
Title: I'm Looking Through You
Source: CD: Rubber Soul
Writer(s): Lennon/McCartney
Label: Parlophone (original label: Capitol)
Year: 1965
Although John Lennon is generally thought of as the Beatle who wore his heart on his sleeve, it was Paul McCartney who came up with the song I'm Looking Through You for the Rubber Soul album. The lyrics refer to Jane Asher, who McCartney had been dating for about five years when he wrote the song. They split up soon afterward.
Artist: Cream
Title: Sleepy Time Time
Source: LP: Fresh Cream
Writer(s): Bruce/Godfrey
Label: Atco
Year: 1966
When Cream was first formed, both Jack Bruce and Ginger Baker worked with co-writers on original material for the band. Baker's partner was Pete Brown, while Bruce worked with his wife, Janet Godfrey. Eventually Bruce and Brown began collaborating, creating some of Cream's most memorable songs, but not before Bruce and Godfrey wrote Sleepy Time Time, one of the high points of the Fresh Cream album.
Artist: Cream
Title: Crossroads
Source: LP: Wheels Of Fire
Writer: Robert Johnson
Label: Atco
Year: 1968
Robert Johnson's Crossroads has come to be regarded as a signature song for Eric Clapton, who's live version (recorded at the Fillmore East) was first released on the Cream album Wheels Of Fire, and later became one of the group's highest charting singles.
Artist: Cream
Title: I Feel Free
Source: LP: Fresh Cream
Writer(s): Bruce/Brown
Label: Atco
Year: 1966
After an unsuccessful debut single (Wrapping Paper), Cream scored a bona-fide hit in the UK with their follow-up, I Feel Free. As was the case with nearly every British single at the time, the song was not included on Fresh Cream, the band's debut LP. In the US, however, hit singles were commonly given a prominent place on albums, and the US version of Fresh Cream actually opens with I Feel Free. To my knowledge the song, being purely a studio creation, was never performed live by the band.
Artist: 13th Floor Elevators
Title: You're Gonna Miss Me
Source: CD: The Psychedelic Sounds Of The 13th Floor Elevators
Writer: Roky Erickson
Label: Collectables (original label: International Artists)
Year: 1966
If anyplace outside of California has a legitimate claim to being the birthplace of the psychedelic era, it's Austin, Texas. That's mainly due to the presence of the 13th Floor Elevators, a local band led by Roky Erickson that had the audacity to use an electric jug onstage. Their debut album was the first to actually use the word psychedelic (predating the Blues Magoos' Psychedelic Lollipop by mere weeks). Musically, their leanings were more toward garage-rock than acid-rock, at least on their first album (they got more metaphysical with their follow-up album, Easter Everywhere).
Artist: Turtles
Title: Chicken Little Was Right
Source: 45 RPM single B side
Writer: The Turtles
Label: White Whale
Year: 1967
Like many of the bands of the time, the Turtles usually recorded songs from professional songwriters for their A sides and provided their own material for the B sides. In the Turtles' case, however, these B sides were often psychedelic masterpieces that contrasted strongly with their hits. Chicken Little Was Right, the B side of She's My Girl, at first sounds like something you'd hear at a hootenanny, but then switches keys for a chorus featuring the Turtles' trademark harmonies, with a little bit of Peter And The Wolf thrown in for good measure. This capacity for self-parody would come to serve band members Mark Volman and Howard Kaylan well a few years later, first as members of the Mothers (performing Happy Together live at the Fillmore East) and then as the Phorescent Leach and Eddie (later shortened to Flo And Eddie).
Artist: American Breed
Title: It's Getting Harder
Source: Mono CD: If You're Ready-The Best Of Dunwich Records...Volume Two
Writer(s): Larry Weiss
Label: Sundazed
Year: Recorded c. 1967, released 1993
One of the bands that Bill Traut, head on Dunwich Records, was most enthusiastic about was a group originally known as Gary & The Knight Lites, a Chicago area cover band that Traut found "very malleable". Sometime around 1966 or '67 they changed their name to the American Breed and, with Traut producing, cut a tune called It's Getting Harder. The song (written by Larry Weiss, who would go on to write Rhinestone Cowboy for Glen Campbell) remained unreleased until 1993. Ironically, the American Breed ended up literally living up to Traut's description in 1968, when they scored their biggest hit with a song called Bend Me, Shape Me. Malleable indeed!
Artist: Monkees
Title: Circle Sky
Source: LP: Head
Writer(s): Michael Nesmith
Label: Rhino (original label: Colgems)
Year: 1968
A total departure from anything the Monkees had done before, Head, the group's first and only movie, was a commercial flop. The soundtrack album was equally ignored, despite (or maybe because of) the fact that it featured some of the group's most innovative and experimental recordings, such as Michael Nesmith's Circle Sky, a song that defies easy categorization (psychedelic bluegrass???).
Artist: Monkees
Title: Zilch
Source: CD: Headquarters
Writer(s): Jones/Nesmith/Tork/Dolenz
Label: Rhino (original label: Colgems)
Year: 1967
From a creative standpoint, the highpoint of the Monkees' career as a band was the Headquarters album, which topped the album charts for one week in late spring of 1967 before being toppled by Sgt. Pepper's Lonely Hearts Club Band. Unlike the previous and subsequent Monkees albums, Headquarters featured a minimum of outside musicians, and was under the total creative control of the Monkees themselves, even to the hiring of Chip Douglas as producer. Although most of the tracks on Headquarters were penned by professional songwriters, a few were written by the band itself, including Zilch, which is sort of a spoken word version of a Round (except everyone is saying something different).
Artist: Monkees
Title: Supplicio/Can You Dig It
Source: LP: Head
Writer(s): Peter Tork
Label: Rhino (original label: Colgems)
Year: 1968
Peter Tork only received two solo writing credits for Monkees recordings. The first, and most familiar, was For Pete's Sake, which was released on the Headquarters album in 1967 and used as the closing theme for the second season of their TV series. The second Tork solo piece was the more experimental Can You Dig It used in the movie Head and included on the 1968 movie soundtrack album. Not long after Head was completed, Tork left the group, not to return until the 1980s, when MTV ran a Monkees TV series marathon, introducing the band to a whole new generation and prompting a reunion tour and album. Supplicio, which precedes Can You Dig It on the LP, is a short bit of uncredited electronics and vocal effects that lead into the Tork tune.
Artist: Audience
Title: Banquet
Source: British import CD: Spirit Of Joy (originally released on LP: Audience)
Writer(s): Werth/Williams
Label: Polydor
Year: 1969
By 1969 the British blues-rock craze was beginning to subside, and many of the musicians that had made up the core of the movement were moving off in different directions. Black Sabbath was going for a heavier sound, while Ian Anderson was finding ways of incorporating traditional English folk music into Jethro Tull's mixture. The members of the Lloyd Alexander Blues Band, like their better known counterparts from the Yardbirds, took an interest in the new progressive rock movement pioneered by bands like Procol Harum, and in 1969 some of those members formed Audience. Led by lead vocalist/acoustic guitarist Howard Werth and bassist/keyboardist Trevor Williams, Audience was unique in that they had no electric guitarist in the band, a direction that would be followed by Emerson, Lake and Palmer a couple of years later. The band also took a page from Traffic's book and included one member, Keith Gemmell, who played only wood instruments such as flute, clarinet and saxophone. The band, completed by drummer Tony Connor, made such an impression that Polydor records offered them a deal shortly after their first major gig. Banquet, from that 1969 debut LP, is a fairly representative example of what Audience was all about.
Artist: Jimi Hendrix Experience
Title: All Along The Watchtower
Source: CD: Electric Ladyland
Writer(s): Jimi Hendrix
Label: Legacy (original label: Reprise)
Year: 1968
Although there have been countless covers of Bob Dylan songs recorded by a variety of artists, very few of them have become better known than the original Dylan versions. Probably the most notable exception is the Jimi Hendrix Experience version of All Along The Watchtower on the Electric Ladyland album. Hendrix's arrangement of the song has been adopted by several other musicians over the years, including Neil Young (at the massive Bob Dylan tribute concert) and even Dylan himself.
Artist: Chambers Brothers
Title: Time Has Come Today
Source: CD: The Best Of 60s Psychedelic Rock (originally released on LP: The Time Has Come)
Writer(s): Joe and Willie Chambers
Label: Priority (original label: Columbia)
Year: LP released 1967, single edit released 1968
Time Has Come Today has one of the most convoluted histories of any song of the psychedelic era. First recorded in 1966 and released as a two-and-a-half minute single the song flopped. The following year an entirely new eleven minute version of the song was recorded for the album The Time Has Come, featuring an extended pyschedelic section filled with various studio effects. In late 1967 a three minute edited version of the song was released that left out virtually the entire psychedelic section of the recording. Soon after that, the single was pulled from the shelf and replaced by a longer edited version that included part of the psychedelic section. That version became a hit record in 1968, peaking just outside the top 10. This is actually a stereo recreation of that mono second edited version.
Artist: Downliners Sect
Title: Why Don't You Smile Now
Source: Mono CD: Nuggets II-Original Artyfacts From The British Empire And Beyond 1964-1969 (originally released on LP: The Rock Sect's In)
Writer(s): Philips/Vance/Reed/Cale
Label: Rhino (original label: Columbia UK)
Year: 1966
The Downliners Sect was one of the more unusual British bands of the mid-sixties, with a penchant for choosing unconventional material to record. Their second LP, for instance, was made up of covers of songs originally recorded by US Country and Western artists. Their third LP, The Rock Sect's In, was (as the title implies) more of a straight rock album than their previous efforts. Still, they managed to find unique material to record, such as Why Don't You Smile Now, a song chosen from a stack of producers' demos from the US. Although nobody seems to know who Philips or Vance were, the Reed and Cale in the songwriting credits were none other than Lou and John, in a pre-Velvet Underground incarnation.
Artist: Misunderstood
Title: I'm Not Talking
Source: British simulated stereo CD: Before The Dream Faded
Writer(s): Mose Allison
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 a single in late 1966 before being deported back to the US (where one of the members was immediately drafted into military service) because of problems with their work visas.
Artist: Nashville Teens
Title: Tobacco Road
Source: 45 RPM single
Writer: John D. Loudermilk
Label: London
Year: 1964
The Nashville Teens were not teens. Nor were they from Nashville. In fact, they were one of the original British Invasion bands. Their version of John D. Loudermilk's Tobacco Road was a huge international hit in the summer of 1964. The lead guitar parts on the recording are the work of studio musician Jimmy Page.
Artist: Bob Dylan
Title: It's All Over Now, Baby Blue
Source: Mono LP: Bringing It All Back Home
Writer(s): Bob Dylan
Label: Sundazed/Columbia
Year: 1965
One of the most covered of Bob Dylan's tunes, It's All Over Now, Baby Blue originally appeared on the LP: Bringing It All Back Home in March of 1965. There has been much speculation over the years as to the identity of the titular Baby Blue, with guesses ranging from Joan Baez to Dylan's own folk music phase. The album Bringing It All Back Home is known for Dylan's first use of electric instruments on his recordings, although the song It's All Over Now, Baby Blue, features only Dylan himself on vocals, acoustic guitar and harmonica, accompanied by bassist William E. Lee.
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